Reappraising this undervalued slice of late-period Hammer horror, Mark Kermode examines the film’s position in the history of its fabled production company, Hammer Films, and offers an appreciation of Ingrid Pitt as a leading scream icon.
The Observer film critic on his hero, who died last week aged 87, a man dedicated to telling stories his way and who had a wicked sense of humour
By Mark Kermode
In his excellent 1990 biography, Hurricane Billy: The Stormy Life and Films of William Friedkin, writer Nat Segaloff quotes the Oscar-winning film-maker as wryly observing: “You know what it’s going to say on my tombstone? It’s going to say ‘The Man Who Directed The Exorcist.’” As someone who has spent a lifetime declaring The Exorcist (1973) to be the greatest movie ever made, I understand how it might perhaps have overshadowed a career that was as long as it was varied.
Yet Friedkin, whom I first met back in the 1990s when I was a starstruck fan (which I remained), did so much more than helm the movie that changed my life – and the lives of many others. He proved himself one of the most fearless and inventive directors of his generation, working in a string of genres – from musical comedy to serious psychodrama; political satire to police thriller; stage play adaptations to tales of supernatural terror – with equal ease and enthusiasm.
My initial encounter with Friedkin – whom everyone called Billy – was on the phone, in 1990, when I interviewed him about his bonkers psycho-nanny/killer-tree movie (yes, really), The Guardian. The reviews had not been good, but Friedkin was typically unfazed. Back in 1977, the reviews for his Wages of Fear remake Sorcerer had also been excoriating and the film had been a major box-office flop. Yet Sorcerer is now widely acknowledged to be one of Friedkin’s finest films – a gruellingly nihilistic exercise in nail-biting suspense; a hellish journey into the heart of darkness. Crucially, Friedkin understood that not every film finds its audience first time around, and so he was equally upbeat when the erotic thriller Jade took a similar drubbing in 1995, defiantly telling me at the time that it was “probably my favourite movie”. (He later said he’d been joking, but I think in the moment he meant it.)
I met Friedkin in person for the first time in 1991, when I went to LA to interview him for the Channel 4 documentary Fear in the Dark. I expected him to be a dark and brooding presence but he was quite the opposite – casually dressed, hugely relaxed and positively playful in his demeanour. On camera he was charming and funny, talking enthusiastically about his love of Psycho (“It wrestles you to the ground”), asking me if liked opera (I knew nothing about the subject), and hilariously declaring on camera that he “couldn’t give a flying fuck into a rolling doughnut” that The Exorcist didn’t win best picture in 1974 because it was “clearly the best picture of the year”. Ha!
Our paths crossed again in 1997 after he picked up a copy of my BFI modern classics volume on The Exorcist in an LA bookstore. The phone rang, and when I heard the words “I have Billy Friedkin on the line for you”, I went weak at the knees, convinced he was calling to demand who the hell I thought I was, writing a book about his movie. To my relief, he told me he thought the book was “great” and he’d bought all the copies in the store! Relieved, I immediately proposed a documentary to celebrate the 25th anniversary of the film. The result was The Fear of God (1998, currently on BBC iPlayer) in which he and the film’s writer and producer, William Peter Blatty, looked back on their differing visions of The Exorcist, while cast and crew remembered the enormous (and often alarming) challenges of making that electrifying movie.
Throughout his career, Friedkin never shied away from a challenge, insisting that if a film had a good story – whatever the genre – then he was game. His earliest works include the 1962 documentary The People v Paul Crump, which was partly credited with the commutation of its subject’s death sentence. Decades later, I had the privilege of collaborating with Friedkin on the narration for his demonic-possession documentary The Devil and Father Amorth (2017), although despite my co-writer credit, the voice of that film remains solely and unmistakably Friedkin’s. (I remember standing on one leg in the corner of a car park in Cornwall, trying to get a phone signal to Friedkin in LA, and shouting “It’s not about faith, it’s about doubt” to the bemusement of the seagulls.)
Having directed one of the last episodes of The Alfred Hitchcock Hour in 1965 (“Did Hitchcock give you any advice?”; “Yes, he said ‘Our directors usually wear ties’”), Friedkin made his feature film debut with the Sonny and Cher vehicle Good Times (1967), which he presciently described as a cautionary tale about “selling your soul to the devil”. He brought Harold Pinter’s The Birthday Party and Mart Crowley’s The Boys in the Band to the screen in 1968 and 1970 respectively, and directed Bert Lahr in his final role in the nostalgic burlesque romp The Night They Raided Minsky’s (1968), alongside Britt Ekland, Jason Robards and Norman Wisdom. Yes, really.
But it was with the best picture Oscar winner The French Connection (1971) that Friedkin really made his mark, adapting the true story of a record-breaking drugs bust into an edge-of-your-seat thriller that took stylistic inspiration from Costa-Gavras’s Z (1969), and looked more like a documentary than a drama. It was that sense of verité grit and realism that convinced Blatty that Friedkin was the only director who could bring his supernatural bestseller The Exorcist to the screen, making audiences believe that what they were watching was real. Continue reading
Sam Rockwell and Saoirse Ronan are the leads, two cops investigating a murder of a film director.
The UK’s best-known film critic, Mark Kermode offers up 50 personal viewing recommendations, from great classics to overlooked gems.
The Arbor (2010)
Director Clio Barnard
Artist Clio Barnard’s moving film about the late Bradford playwright Andrea Dunbar (Rita, Sue and Bob Too) is no ordinary documentary. Mixing interviews with Dunbar’s family and friends (seen lip-synched by actors), scenes from her plays performed on the estate where she lived, and TV footage of her in the 1980s, the film makes intriguing, inventive play with fact, fiction and reminiscence.
Mark Kermode says: “Somehow the disparate elements form a strikingly cohesive whole, conjuring a portrait of the artist and her offspring that is both emotionally engaging, stylistically radical and utterly unforgettable.”
Bad Timing (1980)
Director Nicolas Roeg
Seen in flashback through the prism of a woman’s attempted suicide, this fragmented portrait of a love affair expands into a labyrinthine enquiry into memory and guilt. One of director Nic Roeg’s finest films, starring Art Garfunkel, Theresa Russell and Harvey Keitel.
Mark Kermode says: “Roeg himself reported that a friend refused to talk to him for three years after seeing the film. Today, Bad Timing still divides audiences: monstrosity or masterpiece? Well, watch it and decide for yourself.”
La Belle et la Bête (1946)
Director Jean Cocteau
With its enchanted castle, home to fantastic living statuary, and director Jean Cocteau’s lover Jean Marais starring as a Beast who is at once brutal and gentle, rapacious and vulnerable, shamed and repelled by his own bloodlust, this remains a high point of the cinematic gothic imagination.
Mark Kermode says: “Personally I think Mexican filmmaker Guillermo Del Toro, the maestro of the modern screen fairytale, said it best when he declared La Belle et la Bête simply to be the most perfect cinematic fable ever told.”
Mark Kermode reviews The Dig. On the eve of the Second World War, self-taught archaeologist Basil Brown is enlisted by Edith Pretty to excavate what look like burial mounds in Sutton Hoo, sparking an unlikely friendship between the pair.